Warsaw Autumn
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Warsaw Autumn Pictograms in the programme: Live streaming (only available during the concert) Video retransmission and recording 2 0 Audio broadcast and recording 20 available on: www.warsaw-autumn.art.pl www.warsaw-autumn.art.pl www.warszawska-jesien.art.pl Warsaw Autumn Pictograms in the programme: Live streaming (only available during the concert) Video retransmission and recording 2 0 Audio broadcast and recording 20 available on: www.warsaw-autumn.art.pl www.warsaw-autumn.art.pl www.warszawska-jesien.art.pl Honorary Patronage Deputy Prime Minister, Minister of Culture and National Heritage / Piotr Gliński Festival Director Mayor of the Capital City Jerzy Kornowicz of Warsaw / Rafał Trzaskowski Managing Director Organiser Grażyna Dziura Polish Composers’ Union Festival Office Mieczysław Kominek / President Ewa Radziwon-Stefaniuk Coorganisers Katarzyna Rola-Domańska Warsaw Philharmonic Promotion Polish Radio, Channel 2 Anna Kierkosz Festival Partners Little Warsaw Autumn Society of Authors ZAiKS Paulina Celińska / curator Museum of Warsaw TVP Kultura Warsaw Autumn Hits the Club Little Warsaw Autumn Partner Dagna Sadkowska / curator Anna Makowska / coordinator The Xawery Dunikowski Museum of Sculpture – Division of Cooperation the National Museum in Warsaw Barbara Okoń-Makowska / sound Repertoire Committee projection consultant Kamil Sajewicz / sound system Krzysztof Baculewski coordinator Szymon Bywalec Paweł Pniewski / lighting, Paweł Hendrich multimedia and technology Jerzy Kornowicz / Chairman coordinator Krzysztof Kwiatkowski Katarzyna Naliwajek Programme book edited by Krzysztof Szwajgier Wojciech Bońkowski Marta Śniady Ewa Radziwon-Stefaniuk Krzysztof Wołek Adam Suprynowicz Artur Zagajewski Translations Wojciech Bońkowski Tomasz Zymer Graphic design Adam Dudek Festival Office Rynek Starego Miasta 27 00-272 Warsaw phone: 22 831 06 07 phone: 22 635 91 38 e-mail: [email protected] www.warsaw-autumn.art.pl Warsaw Autumn 2020 expresses its gratitude for the financial assistance and commitment to the Festival offered by: The Ministry of Culture and National Heritage The Capital City of Warsaw PZU Foundation and contributors: Austrian Cultural Forum in Warsaw Deutscher Musikrat Goethe-Institut Society of Authors ZAiKS STOART Performing Artists’ Union PWM Edition Institute of Music and Dance Polish Radio, Channel 2 Travel Management – Stare Miasto Biletomat.pl Malina Art Festival media partners Polish Radio Polityka TVP Kultura Presto Co Jest Grane 24 Going. Wysokie Obcasy Little Warsaw Autumn Festival media partners Polskie Radio Dzieciom Kosmos dla dziewczynek czasdzieci.pl miastodzieci.pl The Festival is cofinanced by the Minister of Culture and National Heritage’s Culture Promotion Fund within the Music programme, implemented by the Institute of Music and Dance, the City of Warsaw, and PZU Foundation. Little Warsaw Autumn is cofinanced by the Minister of Culture and National Heritage’s Culture Promotion Fund. Live streaming of the festival events thanks to the support of Society of Authors ZAiKS. The Festival is a member of the European Conference of Promoters of New Music and the Ulysses Network co-funded by the Creative Europe Programme of the European Union. Ladies and Gentlemen, Warsaw Autumn director Jerzy Kornowicz, supported by members of the Programme Committee, has enrolled on an ambitious task in preparing this year’s Festival. There have been programmes in the past where the narrative was centred on a serious philosophical issue touching the essence of music, but this year, it is a particularly challenging one. “Music and language” is 2020 Warsaw Autumn’s leading theme, with an extraordinarily wide spectrum of references to philosophy and linguistics, musicology and music theory, and many other disciplines of human thought. Scholars study the relationships between music and language, examine the role of language within music, search for analogies between musical and linguistic structures. In the past, structuralists considered musical to be a language proper, limiting its study to the analysis of the musical work’s structure. Today, postmodern musicology looks at the entire cultural context of the work’s existence, and cultural interpretation of music is sometimes / 7 embedded into the compositional act itself. This is the intellectual background of the 63rd Warsaw Autumn Festival in the year 2020, marred by the coronavirus pandemic. This scourge impacted our Festival in the spring and we were not sure then how things would unfold in the autumn. The most spectacular events, involving large ensembles, had to be reprofiled; overseas travel cancelled; but the worst outcome, cancelling Warsaw Autumn, could be averted, so we shall convene again in Warsaw’s hospitable concert halls. I am confident we will treat you to a fascinating and intriguing festival in the times of the pandemic, and that your satisfaction will be both aesthetic and intellectual. With my best wishes for good listening, Mieczysław Kominek President of the Polish Composers’ Union A word about the Festival’s programme Music is a language, but language also carries its own music. During this year’s Warsaw Autumn, these two elements will intertwine in various ways. We will thus focus on words embedded in music and music embedded in words; on the language of music and the music of language; on the common elements of music and language, the structural affinities, the grammar of music and architecture of text. We will also look at their similar functions: music and language playing an informative and communicative role, including in media; their “speech” from a social perspective. We will contemplate the possibility of expressing the most important issues through language and music; their similar intentions and premises, proper to musical and literary creation, starting from the structural similarities and differences of those genres, up to their voice in the public space; their affirmation of reality or—sometimes—the changes they postulate; the influence of music and language on reality. There are many terms common between these two areas: motif, sentence, phrase, prologue, movement, epilogue, narrative, and form. Some terms in music and language are corresponding pairs: phonem and note; word and motif (sign); sentence and phrase; chapter and movement; book and work. Some general aspects are similar: sense, message, structure, and expression. Indeed, historically much music was composed to text. But most intriguingly, language is also present in textless music. Music refers to literary forms for example in its titles. To quote just a few twentieth- century examples: Catalogue d’oiseaux (Messiaen), Cahier d’Épigrammes (Amy), Books of Studies, Treatise (Cardew), Livre pour cordes (Boulez), Four Essays, Four Novellas, Dramatic Story (Baird), Poems (Szabelski), Livre pour orchestre and Novelette (Lutosławski). Musical works with titles referring to a book were also written by Křenek, Schnittke, Gubaidulina, Riley, Adams, Dillon, Richard Boulanger, Monk, Nilsson, and Torke. And so we have musical catalogues, booklets, epigrams, treatises, essays, novellas, stories, poems, and very many books. Current relations between music and language are complex both on the level of the matter and message of the music. There are also differences: the duration of the utterance or perception in time of a musical work versus a written text. In the programme of this year’s Warsaw Autumn, we shall show the relationship between music and language notably through the words of François Sarhan’s new opera; the advertisement texts of Georges Aperghis’s Pubs-Reklamen; the verbal–musical performance of Agata Zubel and Cezary Duchnowski’s ElettroVoce duo; the matrix of language in the music of François-Bernard Mâche, whose research on languages and music is very thorough and specific; the fusion of textual samples and transgeneric music in Juliana Hodkinson’s; the common phrases of recorded text and piano sounds in Peter Ablinger’s Voices and Piano; the sonorism of signs in Mark Andre’s cycle riss 1–3; the sound gestures in Kuba Krzewiński’s Contre no. 2; references to reportage in Pstrokońska-Nawratil’s The Nightingale and the Stone; the speech of sign language in Mark Applebaum’s Aphasia; and finally, language and music in relation to reality in the Feminine Forms concert, featuring works by Monika / 9 Szpyrka, Żaneta Rydzewska, Martyna Kosecka, Anna Sowa, and Nina Fukuoka. This year’s Warsaw Autumn will be framed by two great choral–instrumental forms with text, serving as deeply significant keys. Our inaugural concert will feature the first Polish performance of Mauricio Kagel’s Vox humana? The final concert will include Miroslav Srnka’s Speed of Truth. Warsaw Autumn will speak much more about the relations between music and language, but will also include many compositions where that relation is absent. Indeed, today’s music cannot be simplified to one issue—even if fundamental. The coronavirus pandemic has influenced this year’s Warsaw Autumn in many ways. The President of the Polish Composers’ Union Mieczysław Kominek has touched upon those issues on the preceding pages. The influence has been both negative and, perhaps surprisingly, positive. The former includes the lack of large ensemble compositions and musical shows that would require proximity between performers and audiences; the cancellation of events where performers would need to travel over long distances; the reduced opportunity for our audiences to meet during festival events, resulting from the